The Choir
2005-12-03 22:01:00 UTC
--
Hello out there. Not sure how many real subscribers are on this newsgroup
among all the ads and spams, but we're just trying to reach out and find old
friends, fans and listeners of The Choir. We have a new record out and are
looking to connect with those that may have lost track of us as the years
have gone by. Please stop by our website for a visit or our myspace
account. This isn't a marketing company doing this - its the actual band
and run by the individuals from The Choir. Below is our newest bio to catch
you up, but please stop by our sites below to better catch up with us!
Thanks for listening,
The Choir
www.thechoir.net
www.myspace.com/thechoirspace
www.purevolume.com/thechoir
www.thechoirdownloads.com
The Choir and Youth Choir - O How The Mighty Have Fallen
--
The Choir Sings Again
By John J. Thompson
The ranks of the Alternative Christian Music underground may not be massive
in size, but the impact its denizens have had on the larger music world is
immense. Through a loose network of church halls and clubs a community
evolved that has challenged and stretched the boundaries of Christian and
mainstream music. Sixpence None the Richer, Jars of Clay and Switchfoot, for
instance, have achieved massive, top-tier recognition and success in the
mainstream and Christian markets, and spent years in the underground
trenches playing small venues and selling tiny quantities of amazing albums
before their breakthroughs. These bands and many others would credit the
pioneering work of one particular early Christian alternative band as a
major influence. That band, helmed by drummer / lyricist Steve Hindalong and
guitarist / vocalist Derri Daugherty, along with bassist Tim Chandler, sax /
lyricon player Dan Michaels and guitarist Marc Byrd along and a cast of
contributing friends and compatriots, is known by a small but extremely
devoted audience as The Choir, and they may be one of the best, and most
influential bands, you¹ve never heard of.
Unless you¹ve been following the Christian alternative underground closely,
you may not have heard of this poetic, percussive, progressive and poignant
band. Daugherty and Hindalong first joined up in 1980 after being introduced
by their future bassist, Chandler (who would also end up as a member of
another ground breaking Christian band, Daniel Amos.) Chandler, who returned
to the band in the 90s after years away, remains a vital part of The Choir¹s
chemistry, even co-writing two songs on the new album. Dan Michaels, also a
member of the band since the early days, adds various keyboard elements
through his breath controlled Lyricon. Marc Byrd joined the band in the mid
nineties after Hindalong and Daughtery had produced albums for his band
Common Children. The various distinct elements; Hindalong¹s unique drum
perspectives and immediately evocative lyrics, Daugherty¹s crystalline voice
and echoing guitar, Chandler¹s muscular, yet persistently melodic bass,
Michaels¹ tasteful use of sax and synth and Byrd¹s excellent backing vocals,
tight guitar skills and increasingly powerful songwriting talents, combine
as a seamless garment of musical grace. Twenty-five years into their
journey, The Choir are as amazing as ever.
Long before alternative music became mainstream in the general or Christian
market, The Choir defied stereotypes with their music and their subtle,
confessional and sometimes melancholic approach to ministry. Though their
unique vision for faith and art thrilled their fans, it didn¹t do much to
engender the enthusiasm of the Christian music establishment. ³Promoters,
which were typically youth pastors in our scene, would sometimes be
disappointed because we didn¹t deliver what they expected us to,² Hindalong
remembers of the band¹s beginnings in the early 80s. ³But we went on and did
700 gigs regardless, and just made our 11th record.² By the time the
industry caught up to their more open and personal style of music and
ministry, The Choir were putting their years of touring behind them. Their
work, however, was far from over.
Though scores of young artists were already hard at work taking the creative
baton handed to them via the inspiration of The Choir, the band was about to
reach an entirely new, and massive, sphere of influence. You may have never
heard of The Choir, but considering their significant influence on emerging
artists, not to mention their work as producers, engineers and songwriters
on major projects like the City On A Hill worship series or the song ³God Of
Wonders,² you¹ve probably heard something touched by this seminal group.
Hindalong, in fact, was named one of the most influential producers in
Nashville by CCM Magazine, while ³God Of Wonders² a song penned with current
Choir band mate Marc Byrd, remains one of the most popular worship songs of
the last decade. But long before their role as producers and engineers
brought them to the upper echelons of the music industry, Daugherty and
Hindalong were crafting a uniquely ambient sound, and using it to deliver
beautiful and entirely original lyrics. Their work earned them a Dove Award
for their 1996 release Free Flying Soul and a Grammy Nomination for their
2001 release Flap Your Wings. It was the same unique approach that made City
On A Hill such a success. The Choir is clearly one of the most influential
bands in the history of modern Christian music, and with the release of
their new independently recorded LP O How the Mighty Have Fallen, they have
returned to top form.
Deciding to revisit The Choir is a challenge on many levels for the members
of the band. With Hindalong and Daugherty booked with production,
engineering and songwriting work and the other members¹ full time careers in
and out of the music business, the time for writing and recording has been
difficult to come by since the band retired from the road. Managing the
challenge of busy schedules and budgets falls on longtime member, webmaster
and inspiration machine Dan Michaels, who in addition to running the indie
label Galaxy 21 Records, works as the Vice President of Promotion and
Marketing for INO Records. With his days spent managing and promoting
projects by MercyMe, SonicFlood, Darlene Zschech and many others, Michaels¹
had to spend evenings and weekends getting The Choir up and running for the
new project. ³I think everybody was really attracted to the idea of doing a
record,² Michaels explains, ³but it took a couple years of subliminal and
not-so-subtle encouragement to get the guys to do it.² In his role as the
project¹s executive producer Michaels¹ understood the challenges to
arranging very busy schedules to line up. ³It wasn¹t like it was hard, or
that nobody wanted to do it,² Michaels¹ adds, ³I just had to pull them out
of their chairs. But once they got on the dance floor they felt good about
it.²
The logistics were also served by the assigning of production duties to the
³new kid,² longtime friend and fan Marc Byrd. Not since their 1986 album
Diamonds and Rain (produced by Charlie Peacock,) has anyone other than
Hindalong and Daugherty produced a Choir album, and the relegation of those
duties proved significant to both the logistical and artistic success of the
project. Byrd successfully brought external focus to the creative process,
and logistical support to free Hindalong and Daugherty to focus on the
artistic elements exclusively. ³I think what I brought to them was the
perspective of a fan,² Byrd offers. ³They had met privately decided that
they wanted me to be in the band officially, and that they wanted me to
produce the record. I was honored, but immediately afraid too.² Daugherty
explains that the choice to enlist Byrd was an easy one. ³We¹ve always
wanted to have a situation where there was someone we really trusted
production-wise to keep things focused; to take the pressure off Steve and
me as far as those decisions,² he explains. ³Marc was the logical choice.
He¹s been part of this thing for so long he¹s definitely a member of the
band. He and I are so connected musically, it was a no-brainer. He could
deal with the production stuff and we could just play.² The band accepted
Byrd¹s leadership throughout the process. ³It definitely changed some
things,² Daugherty adds, ³We let him do his thing. He made a lot of
decisions. He was really hands on. Even down to the title of the record.²
That ³fan-perspective² Byrd brought included some insight into the sonic
direction he felt the band should engage for the new record; one that
explored the more ambient, atmospheric sounds of their earlier material. ³It
was almost as if they had been producing themselves for so long,² Byrd adds,
³I was able to say Look, guys, everybody likes the dreamy aspect of the
band, as well as the rock aspect. I wanted to somehow encourage them to
capture both.² Daugherty, ever the proponent of the older style, agreed.
³Mark and I are kindred spirits when it comes to music. Every time at the
beginning of a record I make a big statement like Lets just do nothing but
real slow, ambient spacey¹ and Steve just says Yeah, we¹ll see.¹ But with
Marc there I had another voice.² Hindalong concurs. ³We never set out to
think of it like Boy what would people expect from The Choir?¹² Hindalong
explains. ³We have become comfortable with the fact that what we do best is
write good songs. We always feel that our strength is song-oriented. People
can argue about what they think we should have done sonically, or what they
think we should have done with production tricks. Our strength is our songs;
voice, melody, chord progression.² Daugherty admits that there was a
different sensibility in how this album was approached. ³We¹re at a place
musically where we¹re pretty comfortable in our shoes,² he says. ³Fifteen
years ago maybe we felt like we had to prove something.²
The resulting work definitely references the band¹s best elements from their
impressive career, with hauntingly beautiful melodies perched atop cascading
layers of shimmering guitars and breath-blown synthesizers. The precarious
balance between gentleness and edge recalls their celebrated and
award-winning work from their albums Circle Slide, Wide Eyed Wonder and
Chase The Kangaroo, while the lyrics reflect elements of the delicately
beautiful modern hymnody the band first unveiled via the At The Foot Of The
Cross and later mastered with the City On a Hill series. Daugherty explains
it as a thoroughly deliberate process. ³We intentionally wanted it to sound
a certain way. More than any of our other records, this is one where we went
in with a real distinct plan musically. We knew it would be more low-key, we
knew the songs would be more mellow than before.² Michaels established the
groundwork in advance to allow for the most relaxing and enjoyable
experience possible, knowing that would translate into the music. ³The rule
was that there were no rules,² Michaels insists. ³That was the attraction
too. We didn¹t have to do it for a label. There was no timeline. We didn¹t
have to do it for Cornerstone or Gospel Music Week. We decided to take our
time and wait until we were totally happy.²
Hindalong, the chief lyricist for the band, approached the word crafting
with the same spontaneous chemistry ³The music reflects how we feel,² he
offers, ³And the lyrics reflect how I feel in response to that music.² Those
feelings manifest themselves in songs the artists refer to as favorites of
their career. ³This album deals with some pretty serious calamity and some
of the harsh reality of life and living,² Hindalong explains. ³But I think
that there¹s a sense of levity about it as well. I think there¹s a sense of
peace and trust.² The wordsmith admits that the sometimes dark lyrics have
their basis in the daily lives, and the undying faith of the band members.
³With all the stuff that has happened to us personally and as a band, we¹ve
remained faithful and we still profess our faith. We¹re still church going
people. We¹ve always confessed ourselves as being flawed. We keep messing up
and we keep admitting it, but our faith is still in the same place.²
³O How the Mighty Have Fallen² is my favorite song on the record hands
down,² Byrd offers. ³It hits me on a level that old Choir stuff hit me. It
has that quirky, deep lyric.² Daugherty cites ³She¹s Alright,² written prior
to the rest of the album by Byrd and Hindalong as his favorite. ³I love the
melody, I love the lyric. It¹s so sparse.² Speaking with the various members
of the band, several tracks are mentioned as favorites, including the
troubled but encouraging Chandler / Hindalong composition. ³Nobody Gets a
Smooth Ride,² the hymn-like ³To Rescue Me,² and the feel-good hit of the
summer, ³Fine Fun Time.² The lasting impression is that the team that has
brought such classics to the world as ³Beautiful Scandalous Night,² and ³God
of Wonders,² has added some of their best work with this collection.
With songs that touch on very personal and painful subjects, as well as the
deep, mysterious and cherished faith of the members, O How The Mighty Have
Fallen captures the best elements The Choir has ever offered to the
universe; musical, lyrical and emotional grace. Often their own harshest
critics, the band themselves seem perfectly aware of the serendipitous
beauty of this project. ³I¹m really proud of it,² Daugherty admits. ³It¹s
hard for me to talk about it without gushing.² Hindalong knows the tangible
difference between this and previous Choir projects. ³When you make music
for a living there is a target; an agenda. Now more than ever there is no
commercial motivation for us. Our only motivation is to do music that we
feel good about. To offer it to whoever wants to hear it.² Daugherty takes
it a step further. ³Now it¹s to the point where I just want to make a record
I can listen to over and over again,² he admits. ³It¹s always great when
other people like it, but this time that¹s not the reason why we did it. We
did it for ourselves and we have nothing to prove.²
Daugherty continues, ³To be able to keep playing music after 25 yearsto be
able to wake up and play guitar is pretty humbling. Spiritually, you get up
and take another breath and realize that even in our fallen state God is
still merciful enough to allow us to have some great things in life. To me
that¹s the whole thing. Whether we¹re talking about divorce or somebody
dying, or our kids the bottom line is that we are still very thankful for
God¹s really great gift to us. More so than any of our records in the past,
I think this one really means that to me.²
O How the Mighty Have Fallen, the eleventh studio album from The Choir is
being released first independently by the band through www.TheChoir.net
<http://www.thechoir.net/> . The band will support the release with a
special live appearance at the Cornerstone Festival
(www.CornerstoneFestival.com <http://www.cornerstonefestival.com/> and with
one performance in southern California, and is considering additional live
dates for the future. Following the summer appearances the album will be
made available to on-line retailers and in the Fall of 2005 will be released
to the wider CBA marketplace at Christian retail.
The Choir is:
Steve Hindalong
Derri Daugherty
Dan Michaels
Tim Chandler
Marc Byrd
Hello out there. Not sure how many real subscribers are on this newsgroup
among all the ads and spams, but we're just trying to reach out and find old
friends, fans and listeners of The Choir. We have a new record out and are
looking to connect with those that may have lost track of us as the years
have gone by. Please stop by our website for a visit or our myspace
account. This isn't a marketing company doing this - its the actual band
and run by the individuals from The Choir. Below is our newest bio to catch
you up, but please stop by our sites below to better catch up with us!
Thanks for listening,
The Choir
www.thechoir.net
www.myspace.com/thechoirspace
www.purevolume.com/thechoir
www.thechoirdownloads.com
The Choir and Youth Choir - O How The Mighty Have Fallen
--
The Choir Sings Again
By John J. Thompson
The ranks of the Alternative Christian Music underground may not be massive
in size, but the impact its denizens have had on the larger music world is
immense. Through a loose network of church halls and clubs a community
evolved that has challenged and stretched the boundaries of Christian and
mainstream music. Sixpence None the Richer, Jars of Clay and Switchfoot, for
instance, have achieved massive, top-tier recognition and success in the
mainstream and Christian markets, and spent years in the underground
trenches playing small venues and selling tiny quantities of amazing albums
before their breakthroughs. These bands and many others would credit the
pioneering work of one particular early Christian alternative band as a
major influence. That band, helmed by drummer / lyricist Steve Hindalong and
guitarist / vocalist Derri Daugherty, along with bassist Tim Chandler, sax /
lyricon player Dan Michaels and guitarist Marc Byrd along and a cast of
contributing friends and compatriots, is known by a small but extremely
devoted audience as The Choir, and they may be one of the best, and most
influential bands, you¹ve never heard of.
Unless you¹ve been following the Christian alternative underground closely,
you may not have heard of this poetic, percussive, progressive and poignant
band. Daugherty and Hindalong first joined up in 1980 after being introduced
by their future bassist, Chandler (who would also end up as a member of
another ground breaking Christian band, Daniel Amos.) Chandler, who returned
to the band in the 90s after years away, remains a vital part of The Choir¹s
chemistry, even co-writing two songs on the new album. Dan Michaels, also a
member of the band since the early days, adds various keyboard elements
through his breath controlled Lyricon. Marc Byrd joined the band in the mid
nineties after Hindalong and Daughtery had produced albums for his band
Common Children. The various distinct elements; Hindalong¹s unique drum
perspectives and immediately evocative lyrics, Daugherty¹s crystalline voice
and echoing guitar, Chandler¹s muscular, yet persistently melodic bass,
Michaels¹ tasteful use of sax and synth and Byrd¹s excellent backing vocals,
tight guitar skills and increasingly powerful songwriting talents, combine
as a seamless garment of musical grace. Twenty-five years into their
journey, The Choir are as amazing as ever.
Long before alternative music became mainstream in the general or Christian
market, The Choir defied stereotypes with their music and their subtle,
confessional and sometimes melancholic approach to ministry. Though their
unique vision for faith and art thrilled their fans, it didn¹t do much to
engender the enthusiasm of the Christian music establishment. ³Promoters,
which were typically youth pastors in our scene, would sometimes be
disappointed because we didn¹t deliver what they expected us to,² Hindalong
remembers of the band¹s beginnings in the early 80s. ³But we went on and did
700 gigs regardless, and just made our 11th record.² By the time the
industry caught up to their more open and personal style of music and
ministry, The Choir were putting their years of touring behind them. Their
work, however, was far from over.
Though scores of young artists were already hard at work taking the creative
baton handed to them via the inspiration of The Choir, the band was about to
reach an entirely new, and massive, sphere of influence. You may have never
heard of The Choir, but considering their significant influence on emerging
artists, not to mention their work as producers, engineers and songwriters
on major projects like the City On A Hill worship series or the song ³God Of
Wonders,² you¹ve probably heard something touched by this seminal group.
Hindalong, in fact, was named one of the most influential producers in
Nashville by CCM Magazine, while ³God Of Wonders² a song penned with current
Choir band mate Marc Byrd, remains one of the most popular worship songs of
the last decade. But long before their role as producers and engineers
brought them to the upper echelons of the music industry, Daugherty and
Hindalong were crafting a uniquely ambient sound, and using it to deliver
beautiful and entirely original lyrics. Their work earned them a Dove Award
for their 1996 release Free Flying Soul and a Grammy Nomination for their
2001 release Flap Your Wings. It was the same unique approach that made City
On A Hill such a success. The Choir is clearly one of the most influential
bands in the history of modern Christian music, and with the release of
their new independently recorded LP O How the Mighty Have Fallen, they have
returned to top form.
Deciding to revisit The Choir is a challenge on many levels for the members
of the band. With Hindalong and Daugherty booked with production,
engineering and songwriting work and the other members¹ full time careers in
and out of the music business, the time for writing and recording has been
difficult to come by since the band retired from the road. Managing the
challenge of busy schedules and budgets falls on longtime member, webmaster
and inspiration machine Dan Michaels, who in addition to running the indie
label Galaxy 21 Records, works as the Vice President of Promotion and
Marketing for INO Records. With his days spent managing and promoting
projects by MercyMe, SonicFlood, Darlene Zschech and many others, Michaels¹
had to spend evenings and weekends getting The Choir up and running for the
new project. ³I think everybody was really attracted to the idea of doing a
record,² Michaels explains, ³but it took a couple years of subliminal and
not-so-subtle encouragement to get the guys to do it.² In his role as the
project¹s executive producer Michaels¹ understood the challenges to
arranging very busy schedules to line up. ³It wasn¹t like it was hard, or
that nobody wanted to do it,² Michaels¹ adds, ³I just had to pull them out
of their chairs. But once they got on the dance floor they felt good about
it.²
The logistics were also served by the assigning of production duties to the
³new kid,² longtime friend and fan Marc Byrd. Not since their 1986 album
Diamonds and Rain (produced by Charlie Peacock,) has anyone other than
Hindalong and Daugherty produced a Choir album, and the relegation of those
duties proved significant to both the logistical and artistic success of the
project. Byrd successfully brought external focus to the creative process,
and logistical support to free Hindalong and Daugherty to focus on the
artistic elements exclusively. ³I think what I brought to them was the
perspective of a fan,² Byrd offers. ³They had met privately decided that
they wanted me to be in the band officially, and that they wanted me to
produce the record. I was honored, but immediately afraid too.² Daugherty
explains that the choice to enlist Byrd was an easy one. ³We¹ve always
wanted to have a situation where there was someone we really trusted
production-wise to keep things focused; to take the pressure off Steve and
me as far as those decisions,² he explains. ³Marc was the logical choice.
He¹s been part of this thing for so long he¹s definitely a member of the
band. He and I are so connected musically, it was a no-brainer. He could
deal with the production stuff and we could just play.² The band accepted
Byrd¹s leadership throughout the process. ³It definitely changed some
things,² Daugherty adds, ³We let him do his thing. He made a lot of
decisions. He was really hands on. Even down to the title of the record.²
That ³fan-perspective² Byrd brought included some insight into the sonic
direction he felt the band should engage for the new record; one that
explored the more ambient, atmospheric sounds of their earlier material. ³It
was almost as if they had been producing themselves for so long,² Byrd adds,
³I was able to say Look, guys, everybody likes the dreamy aspect of the
band, as well as the rock aspect. I wanted to somehow encourage them to
capture both.² Daugherty, ever the proponent of the older style, agreed.
³Mark and I are kindred spirits when it comes to music. Every time at the
beginning of a record I make a big statement like Lets just do nothing but
real slow, ambient spacey¹ and Steve just says Yeah, we¹ll see.¹ But with
Marc there I had another voice.² Hindalong concurs. ³We never set out to
think of it like Boy what would people expect from The Choir?¹² Hindalong
explains. ³We have become comfortable with the fact that what we do best is
write good songs. We always feel that our strength is song-oriented. People
can argue about what they think we should have done sonically, or what they
think we should have done with production tricks. Our strength is our songs;
voice, melody, chord progression.² Daugherty admits that there was a
different sensibility in how this album was approached. ³We¹re at a place
musically where we¹re pretty comfortable in our shoes,² he says. ³Fifteen
years ago maybe we felt like we had to prove something.²
The resulting work definitely references the band¹s best elements from their
impressive career, with hauntingly beautiful melodies perched atop cascading
layers of shimmering guitars and breath-blown synthesizers. The precarious
balance between gentleness and edge recalls their celebrated and
award-winning work from their albums Circle Slide, Wide Eyed Wonder and
Chase The Kangaroo, while the lyrics reflect elements of the delicately
beautiful modern hymnody the band first unveiled via the At The Foot Of The
Cross and later mastered with the City On a Hill series. Daugherty explains
it as a thoroughly deliberate process. ³We intentionally wanted it to sound
a certain way. More than any of our other records, this is one where we went
in with a real distinct plan musically. We knew it would be more low-key, we
knew the songs would be more mellow than before.² Michaels established the
groundwork in advance to allow for the most relaxing and enjoyable
experience possible, knowing that would translate into the music. ³The rule
was that there were no rules,² Michaels insists. ³That was the attraction
too. We didn¹t have to do it for a label. There was no timeline. We didn¹t
have to do it for Cornerstone or Gospel Music Week. We decided to take our
time and wait until we were totally happy.²
Hindalong, the chief lyricist for the band, approached the word crafting
with the same spontaneous chemistry ³The music reflects how we feel,² he
offers, ³And the lyrics reflect how I feel in response to that music.² Those
feelings manifest themselves in songs the artists refer to as favorites of
their career. ³This album deals with some pretty serious calamity and some
of the harsh reality of life and living,² Hindalong explains. ³But I think
that there¹s a sense of levity about it as well. I think there¹s a sense of
peace and trust.² The wordsmith admits that the sometimes dark lyrics have
their basis in the daily lives, and the undying faith of the band members.
³With all the stuff that has happened to us personally and as a band, we¹ve
remained faithful and we still profess our faith. We¹re still church going
people. We¹ve always confessed ourselves as being flawed. We keep messing up
and we keep admitting it, but our faith is still in the same place.²
³O How the Mighty Have Fallen² is my favorite song on the record hands
down,² Byrd offers. ³It hits me on a level that old Choir stuff hit me. It
has that quirky, deep lyric.² Daugherty cites ³She¹s Alright,² written prior
to the rest of the album by Byrd and Hindalong as his favorite. ³I love the
melody, I love the lyric. It¹s so sparse.² Speaking with the various members
of the band, several tracks are mentioned as favorites, including the
troubled but encouraging Chandler / Hindalong composition. ³Nobody Gets a
Smooth Ride,² the hymn-like ³To Rescue Me,² and the feel-good hit of the
summer, ³Fine Fun Time.² The lasting impression is that the team that has
brought such classics to the world as ³Beautiful Scandalous Night,² and ³God
of Wonders,² has added some of their best work with this collection.
With songs that touch on very personal and painful subjects, as well as the
deep, mysterious and cherished faith of the members, O How The Mighty Have
Fallen captures the best elements The Choir has ever offered to the
universe; musical, lyrical and emotional grace. Often their own harshest
critics, the band themselves seem perfectly aware of the serendipitous
beauty of this project. ³I¹m really proud of it,² Daugherty admits. ³It¹s
hard for me to talk about it without gushing.² Hindalong knows the tangible
difference between this and previous Choir projects. ³When you make music
for a living there is a target; an agenda. Now more than ever there is no
commercial motivation for us. Our only motivation is to do music that we
feel good about. To offer it to whoever wants to hear it.² Daugherty takes
it a step further. ³Now it¹s to the point where I just want to make a record
I can listen to over and over again,² he admits. ³It¹s always great when
other people like it, but this time that¹s not the reason why we did it. We
did it for ourselves and we have nothing to prove.²
Daugherty continues, ³To be able to keep playing music after 25 yearsto be
able to wake up and play guitar is pretty humbling. Spiritually, you get up
and take another breath and realize that even in our fallen state God is
still merciful enough to allow us to have some great things in life. To me
that¹s the whole thing. Whether we¹re talking about divorce or somebody
dying, or our kids the bottom line is that we are still very thankful for
God¹s really great gift to us. More so than any of our records in the past,
I think this one really means that to me.²
O How the Mighty Have Fallen, the eleventh studio album from The Choir is
being released first independently by the band through www.TheChoir.net
<http://www.thechoir.net/> . The band will support the release with a
special live appearance at the Cornerstone Festival
(www.CornerstoneFestival.com <http://www.cornerstonefestival.com/> and with
one performance in southern California, and is considering additional live
dates for the future. Following the summer appearances the album will be
made available to on-line retailers and in the Fall of 2005 will be released
to the wider CBA marketplace at Christian retail.
The Choir is:
Steve Hindalong
Derri Daugherty
Dan Michaels
Tim Chandler
Marc Byrd